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Later Victorian Portraits Catalogue

Louisa Anne Beresford (née Stuart), Marchioness of Waterford (1818-1891), Watercolour painter and philanthropist

Self-portraits
By other artists
Photographs

Self-portraitsback to top


1839
Watercolour sketches, inscr. ‘The Eglinton Tournament / your humble servant / morning / evening’, two whole-length figures wearing carefully delineated costumes; priv. coll., UK.

1862
Pen and ink sketches, painting large-scale pictures for the school at Ford:
(a) whole-length, seated on floor, at work, figures to right; untraced.
(b) whole-length, rear view, standing, at work; untraced.
Both repr. Hare 1893, vol.3, facing p.224; Joicey 1991, p.13; and Franklin 2011, pl.22, between pp.118–19 (repr. from Hare)'. ‘As for my picture of Joseph and his Brethren, I have to sit on the floor to do it, because if I was to stand up, the perspective of the group of models would be all wrong. Then at other times I am straining on highest tiptoe. So you see this is bodily labour.’ Letter from Louisa Waterford to Miss Heyland, 1862; quoted Hare 1893, vol.3, p.224.


By other artistsback to top



1822
Watercolour drawing, 156 x 130mm oval, by E.W. Thomson, inscr. ‘E.W.Thomson delt 45 Rue St Anne Paris / 1822’, half-length to front, paired with similar miniature of her sister Charlotte; untraced; Sotheby’s, 5 June 2008 (158).

1830–31
Oil on canvas, 1455 x 1125mm, by George Hayter, signed and dated and inscr. ‘Lady Stuart de Rothesay & her Daughters The Honble Misses Charlotte and Louisa by George Hayter – Heads painted 1830 Paris finished 1831 London’, three-quarter-length, standing looking back over left shoulder, hair in ringlets, wearing white dress and holding green parakeet on left hand, in group with mother (seated centre) and sister Charlotte (to left); at Colnaghi’s 1987, now British Government Art Coll., 16630, on display at British Embassy, Paris. Repr. Beal & Cornforth 1992, p.21; and Franklin 2011, pl.2 between pp.118–19..

Oil on canvas, 730 x 700mm, by George Hayter, signed and dated ‘George Hayter / Paris 1830’, half-length, looking to front, with elaborate coiffure, seated at piano with sister Charlotte standing to left leaning to turn music page; at Sotheby’s, 30 June 2005 (121), now British Government Art Coll., 18018, on display at British Embassy, Paris.

1835
Portrait by John Hayter, at age 17, three-quarter-length, profile to left, standing leaning towards album of sketches, pen or brush in left hand; untraced. Exh. RA 1844 (846); and 8 Carlton House Terrace, 1892 (340, lent by Constance, Marchioness of Lothian); ref. Hare 1893, vol.1, p.192; repr. as stipple engr., 335 x 259mm (plate), by W.H. Egleton for Finden’s Female Aristocracy, 1839, entitled ‘Honble. Louisa Stuart’ (impressions colls NPG D33302; and BM, London, ref. O’Donoghue 1908–1922, vol.4, p.412, no.1).

1837
Watercolour on ivory, 502 x 333mm with curved top, by Robert Thorburn, whole-length, half-profile to left, standing embracing sister Charlotte on terrace with landscape background; coll. Earl & Countess of Harewood (Harewood House, Leeds, P000104). Exh. RA 1845 (885); 8 Carlton House Terrace, 1892 (341, lent by Marquis of Clanricarde); Victorian Exh., New G., London, 1892 (444); and Harewood House, Leeds, 2001 (71); ref. Hare 1893, vol.1, p.194; repr. Millar 1996, p.9; Rutherford & Wilks 2001, no.71; and Franklin 2011, pl.3 between pp.118–19.
Millar 1996 identifies the left-hand figure as Louisa Waterford, although the features of that on the right, half-turned in a supportive pose as befitted a younger sister, more closely resemble hers. When exhibited the portrait was listed as depicting the Marchioness of Waterford with the Viscountess Canning, but the name order may reflect rank rather than pictorial position.
Two copies:
(a) watercolour on ivory, 505 x 340mm; SNPG, Edinburgh, PG1530. Repr. R. Franklin, Lord Stuart de Rothesay, Upton-upon-Severn, 1993, p.252.
(b) oil on panel, 508 x 330mm; Eastnor Castle, Herefordshire. This version was painted for 3rd Earl Somers.
Original also repr. as commercial carte-de-visite issued by photographer H. Hering in Hare 1893, vol.1, frontispiece (image cropped from bottom).

1830s
Oil on canvas, 533 x 432mm, by Charles Spindler, signed, whole-length, rear view, leaning over balcony with sister Charlotte seated by window in Carlton House Terrace, landscape of St James’s Park and Westminster Abbey in distance; M. Historique de la Ville de Strasbourg. Repr. Christie’s, 17 Feb. 1950 (140, from Highcliffe); and M. Praz, Conversation Pieces, London, 1971, p.177.

c.1842
Miniature, circular, by William Charles Ross, signed on verso, head-and-shoulders to left, head tilted towards viewer, wearing purple velvet dress with corsage of daisies; coll. Earl & Countess of Harewood (Harewood House, Leeds, P0001054). Exh. Harewood House 2001 (36); ref. Rutherford & Wilks 2001, no.36; repr. V.S. Wortley, Highcliffe and the Stuarts, London, 1927, facing p.274.
Another copy, thought to be by Ross, head slightly to left, wearing pinkish-mauve gown; untraced; formerly coll. Marquess of Waterford.
Pencil drawing, 254 x 178mm, by Edward Clifford, inscr. ‘Louisa Marchioness of Waterford, Curraghmore – 19 May 1900’, head-and-shoulders to left, head turned towards viewer; priv. coll., 2008. This appears to be drawn from Ross’s portrait.

1842–3
Oil on canvas by Francis Grant, whole-length, standing to left, before giant column, wearing white evening gown with stole; priv. coll. Exh. RA 1844 (176); ref. List of works by Sir Francis Grant, PRA, 1828–Jan. 1878 (manuscript 1898), NPG Archive MS 11, under Apr. 1842; further sittings ref. Hare, 1893, vol.1, p.258–9; repr. Wills 2003, p.42, fig.26.

1845
Etching, 203 x 259mm, by unidentified artist (possibly sitter’s sister Charlotte Lady Canning), inscr. ‘H.M. Bal costumé June 6 1845 / Period 1740–50’, whole-length, profile to right, standing, in 18th-century costume, in group with Prince Albert, Queen Victoria and Viscountess Falkland; NPG D16761. The sitter’s sister Charlotte Canning was a favourite lady-in-waiting to Queen Victoria, for whom she frequently made sketches.

1847
Oil on canvas, 565 x 520mm oval, by George Frederic Watts, quarter-length, profile to right; coll. Sir Andrew Duff-Gordon. Exh. Grosvenor G., winter 1882 (79); 8 Carlton House Terrace, 1892 (339); Victorian Exh., New G., 1892 (171); Fair Women, Grafton G., London, 1894 (135); Watts Memorial Exh., various locations, 1905–6 (11); and G.F. Watts Portraits, NPG, London, 2004 (16, ill. p.68); ref. M.S. Watts, MS ‘Catalogue of the works of G.F. Watts’, compiled c.1910, 2 vols, Watts G. Archive, Compton, vol.ii (Portraits), p.166 (ill.) (typescript copy, NPG); engr. by Swan Electric Engraving Co. repr. Hare 1893, vol.1, facing p.180; Gould 2004, pl.iii (colour); and Franklin 2011, pl.6 between pp.118–19. Although the portrait is usually entitled ‘The Hon. Louisa Stuart’, which would date it to before the sitter’s marriage, Bryant 2004a no.16 h-119.ere states that the artist first met Louisa in 1847 and painted this work as a gift to her friends, Georgiana and Alice Duff-Gordon in that year.

late 1840s
Oil on canvas by Sir John Leslie, whole-length, eyes to front, walking to left, wearing black-and-white dress, hooded cape and hat with ostrich feather; untraced; offered to the NPG by Lady Constance Leslie, 1918. Exh. 8 Carlton House Terrace, 1892 (343); and Victorian Exh., New G., London, 1892 (312); ref. letter from Louisa Waterford to Miss Heyland, quoted Hare 1893, vol.1, pp.246–7 (‘A severe little full-length of me in black, with an olive-green background’ executed at Curraghmore) and p.249 (where she defends ‘a woman’s hat from the days of Rubens’ Chapeau de Paille, which is a large black straw hat’); engr. by F. Roffe repr. Hare 1893, vol.1, facing p.362 (as ‘from a sketch by Sir J. Leslie’).
Watercolour version; priv. coll., c.1980.

1847–51
Watercolour sketches by Lady Augusta Cadogan, lady-in-waiting to Queen Victoria:
(a) inscr. ‘Windsor 1847’, three-quarter-length, standing, to right; ref. Millar 1995, no.612 (f.11a).
(b) head-and-shoulders, profile to left, wearing same dress as in (a); ref. Millar 1995, no.652 (f.20v).
(c) whole-length, standing to front, wearing blue-and-white dress, with sister Charlotte standing; ref. Millar 1995 no.610 (f9v).
All in album by Lady Augusta Cadogan, Royal Coll., Windsor Castle.

1851
Pastel drawing, 616 x 514mm oval, by James Rannie Swinton, signed and dated, quarter-length, profile to left, left shoulder bare; coll. Earl & Countess of Harewood (Harewood House, Leeds, P000391). Exh. 8 Carlton House Terrace, 1892 (342); ref. T. Borenius, Catalogue of Pictures and Drawings at Harewood House, Oxford, 1936, no.461.
A second version, oval, head-and-shoulders, half-profile to left; coll. Sir John Swinton, 1991. Repr. Surtees 1972, facing p.4; and Joicey 1991, cover and p.2.
A pencil drawing, 254 x 178mm, by Edward Clifford, inscr. ‘Louisa Lady Waterford’, done around 1900, head-and-shoulders, profile to left; coll. Scott Thomas Buckle, 2008. Although the details are not exact, this may have been based on Swinton’s portrait.

?1850s
Watercolour drawing, 203 x 175mm, by Jane Harriet Ellice, inscr. ‘LW by JHE’, whole-length, standing to left, hands clasped at waist, outdoors, wearing summer hat with veil, wide-skirted dress and light shawl; priv. coll.

1859–60
Oil on canvas by Francis Grant; see NPG 3176.

1860–1
Watercolour drawing, circular, by Anne Dixon, signed and engr. verso, head-and-shoulders, profile to left, looking down; coll. Earl & Countess of Harewood (Harewood House, Leeds, P0001052). Exh. 8 Carlton House Terrace, 1892 (unnumbered); British Empire Exh., Wembley, 1924 (repr. in illustrated souvenir, p.65); and Harewood House, Leeds, 2001 (35); ref. letter from Louisa Waterford to Mrs B. Osborne, 23 Jan. 1861, quoted Hare 1893, vol.3, p.133 (‘a little profile of me on a gold background, to send to my sister’ – however, information from Harewood House states that Dixon’s miniature was executed after Charlotte Canning’s death in 1861; email from Ruby Wills to NPG, 13 Oct. 2008, LVC archive, NPG); and Hare 1893, vol.1, p.121; repr. Erskine 1910, p.283; Surtees 1972, facing p.46; and Rutherford & Wilks 2001, no.35.
Photograph of the drawing, in a replica carved wooden frame dated 1861; Kiplin Hall, North Yorks. Repr. Kiplin Hall guide, 2005, p.12.

Oval miniature attributed to Anne Dixon, sitter’s monogram verso, head-and-shoulders, profile to left, looking upwards, blue background; coll. Earl & Countess of Harewood. Ref. Rutherford & Wilks 2001, no.37.

Two other watercolour drawings by Anne Dixon, from the same period:
(a) whole-length, seated at table before high window; untraced. Repr. Hare 1893, vol.3, facing p.242 (captioned ‘Reading Prayers at Highcliffe’).
(b) whole-length, profile to right, standing, reading letter; untraced. Repr. Hare 1893, vol.3, facing p.286 (captioned ‘At a window in Ford Castle’).

1875–6
Life-size marble figure by Joseph Edgar Boehm, whole-length, standing wearing classical drapery and holding prayer-book; coll. Highcliffe Castle, Christchurch, Dorset, 2006. Ref. Stocker 1988, p.408 (ill., figs 309–312). Commissioned by Lord Wharncliffe, Sir John Leslie and others (see letter from Louisa Waterford to Mrs John Leslie, 19 Feb. 1875, quoted Hare 1893, vol.3, p.355); executed at Highcliffe (see letter from Louisa Waterford to Hon. E. Boyle, 17 July 1875, quoted Hare 1893, vol.3, p.355: ‘Boehm is here doing the head – life-size – of my statue’).
A lithograph cartoon publ. Whitehall Review, 17 Aug. 1877, is apparently related to this work.

1884–6
Bronze figurine by Joseph Edgar Boehm; see below, ‘Undated portraits’.

1892
Pencil drawing by Hon. E.V. Boyle, head-and-shoulders, profile to left, eyes closed; untraced. Repr. Hare 1893, vol.3, facing p.478.


Undated portraits

Watercolour sketch, 114 x 175mm, by unidentified artist, whole-length, standing on terrace (probably at Highcliffe) with Hon. E.V. Boyle; priv. coll.

Statuette by Richard Westmacott jun., whole-length, seated, wearing evening dress, holding open book; untraced.
Known from a replica or version by Joseph Edgar Boehm; untraced. Exh. RA 1886 (1842, ‘After the late Professor Westmacott RA’); ref. Stocker 1988, no.273, p.416 (ill., fig. 313).
Bronze version, 640mm high, signed by Joseph Edgar Boehm and A. Hubert (chaser); Woburn Abbey.
Marble version; Lady Waterford Hall, Ford, Northd.
Painted terracotta version, 400mm high, three known copies:
(a) Woburn Abbey.
(b) Ford Castle, Northd. Ref. Stocker 1988, p.416.
(c) inscr. ‘J E BOEHM RA’ and ‘A HUBERT’; Kiplin Hall, North Yorks. Glimpsed in photograph of room in Kiplin Hall guide, 2005, p.12.


Doubtful portrait

before 1842
?Oil by Edwin Landseer; untraced. Ref. Hare 1893, vol.1, p.233 (‘the beautiful portrait of [Waterford’s] wife by Sir Edwin Landseer’); and Franklin 2011, pl.21 between pp.118–19 (citing Hare 1893). Following a severe road accident in 1842, locks of her hair were said to have been used to embellish the picture frame.


Photographsback to top



1861
Albumen print by Camille Silvy, 27 May 1861, whole-length to front, standing, back of head reflected in cheval-glass mirror, wearing crinoline and holding small bunch of flowers; NPG Ax53979. Ref. Silvy Day Book, vol.3 (3964).

early 1860s
Cartes-de-visite by Disdéri, Paris, four known poses:
(a) whole-length, standing, looking down at book held in right hand, wearing in voluminous gown; coll. Stephen Wegg-Prosser (NPG neg. no.22032).
(b) whole-length, standing to right, head turned back towards camera, looking down, holding closed fan; coll. Stephen Wegg-Prosser.
(c) whole-length, standing, profile to right, left hand touching table; right hand holding closed fan; Eastnor Castle, Herefordshire, Album 2, f.24r(a).
(d) whole-length to front, standing, wearing bonnet, veil and mantle; Eastnor Castle, Herefordshire, Album 2, f.24r(b).

c.1885
Photograph by unidentified photographer, possibly W.J. Reed on same occasion as next image, whole-length, profile to right, standing, wearing dark-coloured evening gown with lace or embroidery, hair in braided coiffure at back of head; engr. by F. Roffe; repr. Hare 1893, vol.3, facing p.324; Joicey 1991, p.11; and Franklin 2011, pl.8 between pp.118–19 (repr. from Hare). The costume is similar to that worn in NPG 3176.

1880s
Photograph by W.J. Reed, Bournemouth, head-and-shoulders vignette, profile to right, looking down, wearing lace chemisette and pearl necklace; photogravure, 186 x 120mm, publ. by Swan Electric Engraving Co., 1893, NPG x68856; repr. MA, 1892, p.113; and Hare 1893, vol.3, facing p.416.


Undated photographs

Photograph by unidentified photographer, 83 x 89mm, head-and-shoulders, profile to right, looking down; Eastnor Castle, Herefordshire, Album 2, f.3v(a) (with signature ‘LWaterford’).

Photograph by unidentified photographer, writing at a table; Eastnor Castle, Herefordshire, Album 2, f.14r(e).

Photograph by unidentified photographer, seated, reading a book; Eastnor Castle, Herefordshire, Album 2, f.20v(e).

Dr Jan Marsh